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Scale 1697: "Raga Kuntvarali"

Scale 1697: Raga Kuntvarali, Ian Ring Music Theory

Bracelet Diagram

The bracelet shows tones that are in this scale, starting from the top (12 o'clock), going clockwise in ascending semitones. The "i" icon marks imperfect tones that do not have a tone a fifth above. Dotted lines indicate axes of symmetry.

Tonnetz Diagram

Tonnetz diagrams are popular in Neo-Riemannian theory. Notes are arranged in a lattice where perfect 5th intervals are from left to right, major third are northeast, and major 6th intervals are northwest. Other directions are inverse of their opposite. This diagram helps to visualize common triads (they're triangles) and circle-of-fifth relationships (horizontal lines).

Common Names

Carnatic
Raga Kuntvarali
Raga Kuntalavarali
Dozenal
Kician

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

5 (pentatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

{0,5,7,9,10}

Forte Number

A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.

5-23

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

none

Reflection Axes

If a scale has an axis of reflective symmetry, then it can transform into itself by inversion. It also implies that the scale has Ridge Tones. Notably an axis of reflection can occur directly on a tone or half way between two tones.

none

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

no

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

yes
enantiomorph: 173

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

1 (unhemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

0 (ancohemitonic)

Imperfections

An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.

2

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

4

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

no
prime: 173

Generator

Indicates if the scale can be constructed using a generator, and an origin.

none

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

no

Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[5, 2, 2, 1, 2]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

<1, 3, 2, 1, 3, 0>

Interval Spectrum

The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.

p3mn2s3d

Distribution Spectra

Describes the specific interval sizes that exist for each generic interval size. Each generic <g> has a spectrum {n,...}. The Spectrum Width is the difference between the highest and lowest values in each spectrum.

<1> = {1,2,5}
<2> = {3,4,7}
<3> = {5,8,9}
<4> = {7,10,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.

3.2

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

no

Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.

no

Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.

1.799

Polygon Perimeter

Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.

5.449

Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.

no

Balanced

A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.

no

Ridge Tones

Ridge Tones are those that appear in all transpositions of a scale upon the members of that scale. Ridge Tones correspond directly with axes of reflective symmetry.

none

Propriety

Also known as Rothenberg Propriety, named after its inventor. Propriety describes whether every specific interval is uniquely mapped to a generic interval. A scale is either "Proper", "Strictly Proper", or "Improper".

Improper

Heteromorphic Profile

Defined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where c is the number of contradictions, a is the number of ambiguities, and d is the number of differences. When c is zero, the scale is Proper. When a is also zero, the scale is Strictly Proper.

(10, 4, 30)

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Major TriadsF{5,9,0}000

The following pitch classes are not present in any of the common triads: {7,10}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.

Modes

Modes are the rotational transformation of this scale. Scale 1697 can be rotated to make 4 other scales. The 1st mode is itself.

2nd mode:
Scale 181
Scale 181: Raga Budhamanohari, Ian Ring Music TheoryRaga Budhamanohari
3rd mode:
Scale 1069
Scale 1069: Goqian, Ian Ring Music TheoryGoqian
4th mode:
Scale 1291
Scale 1291: Huwian, Ian Ring Music TheoryHuwian
5th mode:
Scale 2693
Scale 2693: Rajian, Ian Ring Music TheoryRajian

Prime

The prime form of this scale is Scale 173

Scale 173Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga Purnalalita

Complement

The pentatonic modal family [1697, 181, 1069, 1291, 2693] (Forte: 5-23) is the complement of the heptatonic modal family [701, 1199, 1513, 1957, 2647, 3371, 3733] (Forte: 7-23)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1697 is 173

Scale 173Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga Purnalalita

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1697 is chiral, and its enantiomorph is scale 173

Scale 173Scale 173: Raga Purnalalita, Ian Ring Music TheoryRaga Purnalalita

Transformations:

In the abbreviation, the subscript number after "T" is the number of semitones of tranposition, "M" means the pitch class is multiplied by 5, and "I" means the result is inverted. Operation is an identical way to express the same thing; the syntax is <a,b> where each tone of the set x is transformed by the equation y = ax + b

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 1697       T0I <11,0> 173
T1 <1,1> 3394      T1I <11,1> 346
T2 <1,2> 2693      T2I <11,2> 692
T3 <1,3> 1291      T3I <11,3> 1384
T4 <1,4> 2582      T4I <11,4> 2768
T5 <1,5> 1069      T5I <11,5> 1441
T6 <1,6> 2138      T6I <11,6> 2882
T7 <1,7> 181      T7I <11,7> 1669
T8 <1,8> 362      T8I <11,8> 3338
T9 <1,9> 724      T9I <11,9> 2581
T10 <1,10> 1448      T10I <11,10> 1067
T11 <1,11> 2896      T11I <11,11> 2134
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 2567      T0MI <7,0> 3083
T1M <5,1> 1039      T1MI <7,1> 2071
T2M <5,2> 2078      T2MI <7,2> 47
T3M <5,3> 61      T3MI <7,3> 94
T4M <5,4> 122      T4MI <7,4> 188
T5M <5,5> 244      T5MI <7,5> 376
T6M <5,6> 488      T6MI <7,6> 752
T7M <5,7> 976      T7MI <7,7> 1504
T8M <5,8> 1952      T8MI <7,8> 3008
T9M <5,9> 3904      T9MI <7,9> 1921
T10M <5,10> 3713      T10MI <7,10> 3842
T11M <5,11> 3331      T11MI <7,11> 3589

The transformations that map this set to itself are: T0

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 1699Scale 1699: Raga Rasavali, Ian Ring Music TheoryRaga Rasavali
Scale 1701Scale 1701: Dominant Seventh, Ian Ring Music TheoryDominant Seventh
Scale 1705Scale 1705: Raga Manohari, Ian Ring Music TheoryRaga Manohari
Scale 1713Scale 1713: Raga Khamas, Ian Ring Music TheoryRaga Khamas
Scale 1665Scale 1665: Kejian, Ian Ring Music TheoryKejian
Scale 1681Scale 1681: Raga Valaji, Ian Ring Music TheoryRaga Valaji
Scale 1729Scale 1729: Kowian, Ian Ring Music TheoryKowian
Scale 1761Scale 1761: Kuqian, Ian Ring Music TheoryKuqian
Scale 1569Scale 1569: Jocian, Ian Ring Music TheoryJocian
Scale 1633Scale 1633: Kapian, Ian Ring Music TheoryKapian
Scale 1825Scale 1825: Lecian, Ian Ring Music TheoryLecian
Scale 1953Scale 1953: Macian, Ian Ring Music TheoryMacian
Scale 1185Scale 1185: Genus Primum Inverse, Ian Ring Music TheoryGenus Primum Inverse
Scale 1441Scale 1441: Jabian, Ian Ring Music TheoryJabian
Scale 673Scale 673: Estian, Ian Ring Music TheoryEstian
Scale 2721Scale 2721: Raga Puruhutika, Ian Ring Music TheoryRaga Puruhutika
Scale 3745Scale 3745: Xuvian, Ian Ring Music TheoryXuvian

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. All other diagrams and visualizations are © Ian Ring. Some scale names used on this and other pages are ©2005 William Zeitler (http://allthescales.org) used with permission.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (An algorithm for spelling the pitches of any musical scale) Contact authors Patent owner: Dokuz Eylül University, Used with Permission. Contact TTO

Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography. Special thanks to Richard Repp for helping with technical accuracy, and George Howlett for assistance with the Carnatic ragas.